- DRAFT - Notes

Yuval lederman PART 0NE Table matters

Scaffolding processes

Join us with an open mind and a full stomach

Please consider this an extended open invitation

Project title

TABLE MATTERS

Innovation path Crafting Heritage

Master in Design through New Materials

Author | Yuval lederman

I index II - III

index of multiplicity intuitive agenda / methodologies; future education, circularity, diverse- cross cultural uture skills // motivation and challenges - status quo present future

the modern world // A fluid approach to things | experimental // Playability 02 scaffolding processes A scavenger hunt abstractins education generational spiral singular cacophony

01 intro

Methodology

// “why, what, how, what for” //state of the art

// Research topics and framework- open studio etc

// gathered reserch; trends, references // project planning.

02// workshops

// Research topics, framework, influence, insights 03

materialsation characterization

// Introduction of the different experimentation phase stages and results, analysis, conclusions and next steps.

// Display images of the process, tables, experiments, lab notes, etc. echnical information of your final project. // Cualitative and sensorial information .// Material card / datasheet.

// Implications of your final project in the environment (social, natural and economical) and life cycle analysis. Means

success measures

Summary of findings, answers to the research questions

05 Communication and scalability

// Communication and values of your final project.

// value proposition

// Define the business model/material strategies of your final project. // Define the next steps to scale/implement your final project.

Conclusions // Summary of findings, answers to the research questions

// Limitations // Future research

06 Bibliography

I index II - III

index of multiplicity intuitive agenda / methodologies; future education, circularity, diverse- cross cultural uture skills // motivation and challenges - status quo present future

the modern world // A fluid approach to things | experimental // Playability

scaffolding processes

Index of multiplicity

Intuitive agenda

Abstract I index II - III

01

index of multiplicity intuitive agenda / methodologies; future education, circularity, diverse- cross cultural uture skills // motivation and challenges - status quo present future the modern world

// A fluid approach to things | experimental // Playability

Means

02 scaffolding processes

A scavenger hunt abstractins

education generational spiral singular cacophony

03 organised mess positive breakage

04 taking stock Future vision // Motivation letter 2.0

With curiosity-driven and practice-led approaches, I regard my work as a multidisciplinary research. Moving between physical, digital, and cultural spaces for much of my life has led to a profound fascination with the interplay between the environment, behaviour, and culture.

Drawing from a variety of practices such as teaching, art, design, philosophical, and theoretical, my work is an ongoing exploration of open-ended trial and error aimed at breaking down preconceptions and developing alternate perspectives.

Emphasizing process rather than results, the research is documented on my website, as I monitor progress and changes over time and space. Making use of readily available, environmentally friendly, and anthropologically relevant materials.

www.yuval-lederman.com

// “why, what, how, what for”

In a world of continuous change where some things lose significance and others gain, A world becoming scarce of materials we knew and abundant in ones unfamiliar. Where conceptions of waste and purpose are entangled. As indisputable facts become fluid and the remaining truths are mere fragments stored in clouds. Factual memories and single craft specialties are replaced by adaptability and a multidisciplinary skill set. Awarding creativity, collaboration, and technological know-how.

This is an experimental approach to material study, utilising therapeutic methods with academic research and personal experiences.

Transtisioning between the present and the future, Exploring new ideas and reinterpreting old ones.

Working in harmony with nature through incorporating eco-friendly materials, repurposing existing products, and reinventing old ones.

This project aims at creating a space that facilitates curiosity, experiences, and collaboration. Making decisions based on reflections and imaginative journeys. setting our own guidelines rather than conforming to existing ones. Reconstructing ideas that may shape the future.

// objectives and challenges

“Never forget” is a phrase I have often heard growing up in Israel. The idea of history repeating itself was always viewed as the least desirable outcome, making it imperative to remember the past to ensure future survival.

With a continuously evolving collection of memories, from heirlooms passed down to souvenirs acquired along the way, their ongoing conservation can become quite taxing. Even so, these components contribute to the overall narrative. They provide a framework for creating an identity and an understanding of where we fall on the spectrum between content creators and political megalomaniacs.

As far as I can tell, both individuals and communities developtheir stories based on accumulating “smaller” ones. Collections of personal experiences, generational traumas, miscellaneous items from past relationships, previous clothing sizes, and the ashes of our grandmothers. All culminating in assessing our progress and considering how far we have come despite it all.

Development; the steady growth of something so that it becomes more advanced, stronger, etc. (Oxford Advanced Learners Dictionary)

As a result of these stories, our success, or lack thereof, is often determined. Generally speaking, the goal of Development is legitimising actions that contribute to the greater good. However, the lack of certainty in the future has primarily disintegrated the historical conditions that gave rise to the development perspective.

With the past as a source for society’s reliance, its maintenance of outdated ideas continuously brings us down.

Understanding materials in a broader sense has led me to recognize their transformative potential-almost everything can be anything, and humanity generally adapts to circumstances. For this reason (and a few others) I decided to focus this thesis around improving attitudes and views toward materials, envisioning a future where they are more accessible and their potential is fully realized.

Rooted in the past but aimed at the future. By breaking down narratives and generating fresh interpretations, this paradigm can give us the creative confidence to reinvent the world around us and foster sustainable, long-lasting values in a circular world.

Crafting Heritage

Choosing the Crafting Heritage pathway presents a conflict for me, As I have always been drawn and inspired by crafts’ intimate nature, backstories and hand made methods. The fact that I grew up in multiple places and have a family history of continuous movement has challenged me to find a direction that feels appropriate. My goal is to create a mesh that feels organic from my own perspective .

Digging deeper into my own history searching for some form of discovery related to crafts or a pass time that wasnt television.

I begin to come to terms that the sole inheritance left to me by my ancestors was an array of generational traumas.

When I began this to research about crafts I came to a conclusion that I don’t have any crafts in my heritage because My ancestors were all immigrants from everywhere and when they came to Israel they basically had to Abandoned everything they know and.

New life and I think in general and Israel Ancient craft isn’t very common.

But I actually realize that.

Because of that The appreciation to for a multidisciplinary skill set is.

Quite advanced I grew up in a house that both both my parents can Build the kitchen so dress Build a radios stereo Change attire Oh shoot a gun.

Scaffolding processes

This project examines the role of heritage within a multicultural society through the lens of a seminomadic upbringing England, South Africa, Israel and diverse family ancestry Morocco, Egypt, Yemen, Poland, Ukraine, Romania, Italy

Using TABLEWARE AS THE ANCHOR AND GUIDE,

Concepts such as birthright, inheritance, legacy and cultural appropriation will be analyzed.

Research methods include cultural mapping, Clustering of family archives, written information, and material exploration.

material exploration | mapping | clustering | reading | writing

[ The world as my open studio ]

Extensive research across a variety of media including cultural mapping, archive clustering, artificial intelligence, written information, CMF board, trend analy-

Logo development process

generational spiral

Ancestry tableware mappingt

Taking ancestry records

Clusters of family photos collected through a specially developed platform

Banquet clusters

The following pictures were taken during my time teaching art at elementary schools. (A fifirst attempt at implementing an open studio methodology).

/ Method of work

Studio Organisation

// Collecting materials

Material display offering / presentaion

tableware

workshops- - order- examples

Playability

The open studio

Studio Organisation

As if inviting exploration, the materials are arranged in such a way that they are readily visible.

Accurate presentation of materials directly affects the body and senses, and makes the creator approach the work without delay. It almost completely eliminates the need for the teacher to speak.

Categorizing the materials in the studio

Wet

Gouache wide brushes, rags, sponges, rollers, jars for water

Watercolors Soft brushes, sponges, water.

Acrylic paint brushes, cardboard, wood panels, palettes, water jars, rags.

Dry

Oil pastels

Charcoal

Wax crayons

Pencils Hb - .8b

Pens (Different kinds)

Textiles sewing materias, knitting, Fabrics, scissors, threads, needles, wools

Threads and needles.

Connectors, separators and measuring tools

stapler, clips, hooks. push pins

Adhesives: glue stick/gun, tape / Scissors in diffrent sizes

Cutting Knife wires, wire rulers, Glue gun wires and players.

Three dimensional Clay wooden tools for ers, wooden surfaces, sponge.

Special corners

Library a small amchair, lamp, papers and pencils, Poems or small drawings near by. material samples

The everything box - the uncategorised

Paper of various types, weights, textures, and colors. cardord suraces for work, presentation shelf.

Paper: of any type, 180 g, 240 g, cardboard surtaces from boxes collected for plasticine and Its applicatior or to panda or gouache. Storage in drawers or Polygal bags

Plastic office cabinet for printer napers drafts transparencies. copies etc...

dimensional engraving, rollsponge.

Storage of works: a folder or a shelf for each class. Shelves for 3D, height all around Under the sink: cleaning materials, large glue, another box of clay, plastic bags. Recycle bin. Above the sink: kettle, music player

Unthinkable combinations, Organized, Inviting, or banquet or the tea party from Alice in Wonderland

// Studio Organisation

Collecting / reusing materials

By collecting materials for experimentation rather than specific purposes, even the most banal waste can become an exciting prospect.

• White bristles • Colored bristles • Pages for adult drawing • Cartoon pages • Caps • Paper crepe in all colors • Colored papers • Pack of computer pages • Notebooks

Pages• Different sizes of crayons • Charcoal colors • Oil chalk colors • Fondant colors • Pack of watercolor crayons • Pack of colored crayons Colors for painting on canvas • Tulip colors for decoration • Colors

• Plasticine • Plaster bandages • • Tufted glue• Palettes for colors • Small scissors in large quantity • Japanese knife X 3 • Wipes • Wiping paper • Brushes

Auxiliary equipment

• Lacquer • • Rulers • Small rollers • Cloth rags • • Small boxes for water • • Jars and boxes for storage •

RESEARCH PHASE 1

LIST OF TOOLS

Acrylic one

Apron

Beanie

Bread knife

Bucket

Brushes

Chair

Charger

Chisel

Cloth

Crate

Dust-mask

Electric heater

Fibreglass

Flat file

Foam

Hands

Ink

I-phone

Lamps

Latex gloves

Marker

Mattress

Measuring tape

Modelling tools

Mixing paddle

Old sneakers

Paint

Pencil

Pigment

Pins

Plasters

Plastic bottles

Plastic sheets

Protection glasses

Rasp

Rotary Tool

Means of beginning

studio material chart

Material

paper \ pulp clay foil parchment candles rocks dried lemon peels dried leeves coffee poly foam string textiles cement gypsum

• Pack of thick markers

• Pack of thin markers • Pack of colored Lourdes

• Black Lourdes size

100 • Gouache colors • Water colors • Acrylic colors • Vaseline

Cartons

Plastic bottles

Old fabrics • Old magazines •

Tools

hot plate blender dehydratoe Canes for painting Brushes clips

Adhesives; stick UHU large liquid transparent UHU, SluTape, Masking tape, glue gun

Combina- Reason

Education

Endnotes